Jicotea en Estados Unidos: Lydia Cabrera y el puente antropomórfico a la diáspora cubana.

The corpus of writer Lydia Cabrera (Havana, 1899–Miami, 1991) has been approached from various angles, particularly with a focus on one of her recurring protagonists, Jicotea. Inspired by the Trachemys decussata , a small turtle native to Cuba, Jicotea's shifting identity—moral and physical—has been...

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Publicado en:Hispanic Review Vol. 93; no. 4; pp. 627 - 651
Autor principal: Fernández, Carlos Velazco
Formato: Literary Criticism
Publicado: University of Pennsylvania Press Autumn2025
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Acceso en línea:Ver este registro en EBSCOhost
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        atl: Jicotea en Estados Unidos: Lydia Cabrera y el puente antropomórfico a la diáspora cubana.
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        au: Fernández, Carlos Velazco
        affil: University of Virginia
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        Cubans
        Forced migration
        Turtles
        Identity (Psychology)
        LGBTQ+ studies
        Cabrera, Lydia
        20th century (Literary period)
        Cuba
        Havana (Cuba)
        United States
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        subj:
          Cuba
          Havana (Cuba)
          United States
          Cubans
          Forced migration
          Turtles
          Identity (Psychology)
          LGBTQ+ studies
          Cabrera, Lydia
          20th century (Literary period)
      keyword:
        ÉTICA ECOLÓGICA
        AFRODESCENDENTS
        AFRODESCENDIENTES
        CARLOS VELAZCO FERNÁNDEZ
        DIÁSPORA CUBANA
        ECOLOGICAL ETHICS
        JICOTEA
        LYDIA CABRERA
      ab: The corpus of writer Lydia Cabrera (Havana, 1899–Miami, 1991) has been approached from various angles, particularly with a focus on one of her recurring protagonists, Jicotea. Inspired by the Trachemys decussata , a small turtle native to Cuba, Jicotea's shifting identity—moral and physical—has been the subject of literary analyses, religious interpretations, and studies in gender and queer perspectives. However, I argue that following Cabrera's departure from Cuba in 1960, Jicotea serves as an anthropomorphic link that articulates the recontextualization of Afro-Cuban religions in the North American diasporic space. After delving into her published short stories, essays, and private correspondence, I suggest that Cabrera, through shaping Jicotea as a symbol representing the historical reality of Cuban exile, engages with an ecological ethic rooted in the African-inspired religiosity of the Cuban diasporic communities in the United States.
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